Cinematographer simply means one who records movement. Despite this uncomplicated definition, industry professionals say the audience often fails to understand a cinematographer’s work.
This month, the UCLA Film and Television Archive is teaming with the American Society of Cinematographers to host the series, “Art of Light,” which aims to honor the art of cinematography.
Paul Malcolm, UCLA Film and Television Archive programmer, said people do not recognize that cinematography is a form of art.
“What we hope to accomplish (with “Art of Light”) is to highlight the role the cinematographer plays in the creation of the works. When done well, (cinematography) can be a dazzling and spectacular art form,” he said.
Bill McDonald, a UCLA School of Theater, Film and Television associate professor, and head of cinematography, will be hosting a question-and-answer segment following the screening on the first night of the series.
“One goal of this series and the American Society of Cinematographers is to educate a broader audience,” McDonald said. “(The series) helps me accomplish what I am trying to do. I am very much about educating the general public about the art of cinematography.”
“Art of Light” will screen works of cinematographers Stephen Burum and Walter Lassally, as well as special effects supervisor Richard Edlund. The American Society of Cinematographers has recognized these three as outstanding artists, and they will each receive achievement awards at the 22nd Annual ASC Awards. Burum, whose work will be shown Saturday night, is receiving a Lifetime Achievement Award; Lassally, an International Achievement Award; and Edlund, the President’s Award.
The series allows the audience to view the award-winning cinematography the way it was intended to be viewed.
“No matter how high-def your television is, the theater will always be better,” Malcolm said.
Malcolm adds that in order to contribute to the visual quality and authenticity of each screening, the Film and Television Archive brings in the best possible prints of each film.
“This is particularly important when the cinematographer is present and we are trying to highlight their work,” he said.
This year will be slightly different for McDonald than years past because he shares a personal connection with Burum. The two met when McDonald took a workshop with Burum as an undergraduate student at UCLA.
“Over the years we have kept in touch and he is a tremendous resource. … He has been a huge help to both me and the students,” McDonald said. “There is no better example of a brilliant cinematographer than Steve Burum.”
At Saturday’s event, Burum’s “Casualties of War” will be shown in full, along with a 10-minute segment of “Snake Eyes.” McDonald said both films are accurate examples of Burum’s breadth.
“”˜Casualties of War’ is out in the jungle, and while “Snake Eyes” was also filmed on location, it was not exposed to the same strenuous external conditions. In both cases he makes them all look just wonderful,” he said.
On the second night of the series, Lassally’s “A Taste of Honey” will be screened. According to Malcolm, Lassally’s work stands out because he has successfully brought light to a real-life drama.
“Lassally uses contemporary and social themes to generate a sense of poetic realism,” he said.
The final evening of “Art of Light” with Edlund will be a co-presentation between the American Society of Cinematographers and the Visual Effects Society. No one film will be shown, but rather a collection of Edlund’s work.
Edlund has worked on the “Star Wars” franchise and “Raiders of the Lost Ark,” which Malcolm described as some of the most culturally significant Hollywood films in the past century. “Some of the most iconic images of contemporary Hollywood Edlund has had a hand in making possible,” Malcolm said. “You can call it (visual effects) geek stuff, but the truth is that it has changed the shape of American culture in really untold ways.”
Malcolm explained that the industry is going from an old way to a new way of making film.
“What we can learn from all three (guests) is that, though technology may be changing, the one thing that remains constant is the principles that make a film a great shot. You don’t want people to get so caught up in technology that they miss out on the art,” he said.